Ermione was
Rossini’s twenty-seventh opera and his fifth for Naples. It
followed a mere three months after his Ricciardo e Zoraide
for the same theatre. Unlike its predecessor it was received
with indifference on its premiere and was neither revived nor
performed again anywhere until 1977 when a concert performance
was given in Sienna. It was not staged again until given at
the Rossini Festival at Pesaro in 1987. Performances quickly
followed elsewhere. These often featured Montserrat Caballé
in the eponymous role but I know of no recording of any of her
performances. The work reached England in concert form conducted
by Mark Elder in 1992 and reached America the same year, also
in concert. The eminent Rossini scholar, Professor Philip Gossett,
considers it ‘one of the finest works in the history of 19th
century Italian opera’. A 1986 audio-only recording exists conducted
by Claudio Scimone and with Cecilia Gasdia as Ermione and featuring
the specialist Rossini tenor duo of Chris Merritt and William
Matteuzzi. Originally issued on the Erato label it is well worth
hearing although not currently available.

In my Rossini
Conspectus, and on the basis of that Erato audio recording,
I tended, reluctantly, to disagree with Gossett. I recognised
the structural innovations within the work which include a lamenting
chorus during the overture and formal arias split with intrusions
from other characters. My appreciation was perhaps limited by
the lack of a half decent synopsis let alone a libretto. This
Glyndebourne production allows me to overcome those limitations
and I can now see where Professor Gossett is coming from. Not
only are there the English words to enable the viewer to follow
the action, there is also the superb direction and singing.
The production was Glyndebourne’s first attempt at one of Rossini’s
opera seria. It was an unexpected success of the 1995 season.
The director and designer eschewed a period setting. More importantly
they were not tempted as other producers of Handel, for example,
to set the work in an American desert war. In fact the setting
is an Italian opera house auditorium with sparse grey neo-classical
galleries. The pillared central stage of the opera house is
set at a rather steep angle, which must have made movement a
challenge for the singers as they move to and from centre-stage.
The costumes are a mixture of late twentieth century militarist
styling for the male parts to a stunning, off-shoulder, vivid
royal blue, full flowing dress for Ermione.

Stendahl, in his
famous ‘Life of Rossini’ (1824) suggests that the failure of
the opera was due to the characters spending much of their time
on stage ranting at each other. It is a good job Stendahl did
not live long enough to see Verdi or the verismo composers,
where the characters spend their time plotting seduction or
the death of their opponents. At least in this plot Pyrrhus
wants to marry his prisoner Andromache even if he uses her son
as a tool to gain his ends. Opera seria was increasingly seen
as old hat in the early years of the primo ottocento, the period
of Rossini’s Naples operas. This performance, superbly realised
for the small screen by Humphrey Burton, shows how such works
can be brought alive by sensitive direction and by singers who
can also act with conviction whilst singing vocally demanding
and often florid music. Diana Montague sings the role of prisoner
Andromache with voluptuous expressive tone and fine legato (CH.
2). A long time favourite of Glyndebourne, often en travesti,
she portrays to perfection the desperate mother who will sacrifice
her own life for that of her son (CH. 8). As her captor Pyrrhus,
Jorge Lopez-Yanez copes admirably with the florid music, singing
with a forthright forward tone and clear diction. His three-part
aria, first tenderly to Andromache, interspersed with chorus
contributions, is particularly noteworthy as he concludes by
telling Ermione to go to Sparta and marry someone else (CH.
5). If Bruce Ford is marginally better in the vocal gymnastics
stakes it is probably his vast experience in this fach on stage
and record, particularly for Opera Rara. In the many audio recordings
in my collection in which he features I cannot readily recall
one in which he sings with such mellifluousness, sappy tone
and graceful phrasing. His acting, whether as the frustrated
suitor of Ermione (CH. 6) or as the murderer, on her instigation,
of Pyrrhus, is a tour de force (CH. 12). Anna Caterina Antonacci
as Ermione completes a considerable line-up of principals. Singing
in her native Italian she throws her consummate histrionic and
vocal skills into the portrayal. Ermione dominates act 2 from
scene 2 (CH. 9) to the end of the work as she swoons on realising
that she alone has brought about the death of Pyrrhus who she
loves although he finally rejected her (CH. 12). Anna Caterina
Antonacci’s acting, florid singing including decoration of the
vocal line, and diction are at one with the wide demands of
the role of Ermione. Hers is formidable interpretation that
is appropriately acclaimed at the curtain calls.

The comprimario
roles are all well sung and acted. Of particular note is Paul
Austin Kelly as Orestes’ companion Pylades and Gwynne Howell
as Phoenix. Andrew Davis conducts in style, moving the drama
along whilst allowing the singers adequate time for their phrasing
and written vocal acrobatics. The sound is first class and will
satisfy the most discerning listener. My only criticism is the
rather sparse Chapter Divisions and the lack of a booklet with
some background to the opera and this memorable Glyndebourne
production. All that is provided is a brief resumé of the plot,
with no cross-reference to the listed Chapters. This is printed
on the inside face of the DVD cover. I have noticed this pattern
on other Warner DVDs. It is a parsimony that sells this exceptional
performance short of its deserved gloss.

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